The Rest Is Entertainment - The Toughest Job In Entertainment

Episode Date: April 8, 2026

How do the BBC find hosts last minute when hosts are off ill (or sacked?). Is musical translation the hardest job in entertainment? What is the most mentioned brand in chart history? Richard Osman and Marina Hyde answer your questions on the world of entertainment. The Rest is Entertainment is brought to you by Octopus Energy, Britain's most awarded energy supplier. Join The Rest Is Entertainment Club: Unlock the full experience of the show – with exclusive bonus content, ad-free listening, early access to Q&A episodes, access to our newsletter archive, discounted book prices with our partners at Coles Books, early ticket access to live events, and access to our chat community. Sign up directly at therestisentertainment.com For more Goalhanger Podcasts, head to www.goalhanger.com Video Editor: Charlie Rodwell Assistant Producer: Imee Marriott Senior Producer: Joey McCarthy Social Producer: Bex Tyrrell Exec Producer: Neil Fearn Learn more about your ad choices. Visit podcastchoices.com/adchoices

The rest is entertainment is presented by Octopus Energy. Now, remember, Octopus Energy do something really great. If they've got your birthday, when you call in for whatever reason to Octopus, the whole music is the number one selling single from that year, the year of your 14th birthday. And we discover, didn't we, that yours was the only way is up by Yaz on the plastic population. We're going to discover mine now. Now, yours is, I just called to Say I Love You by.

Stevie Wonder. Okay. Listen, I prefer yours. Do you think it's weird to have whole music, which is I just call to say I love you? Because, listen, and you know that I love Octopus Energy, but I will rarely ring them to tell them I love them. Yeah. Yeah, I would usually, but, you know, I'd just want to chat to them about something to do

with my energy. Yeah. And I don't mean that sort of energy. Well, look, they can but surface the number one single of that year for you. And you can always choose not to have the music. You can choose for, no, but I think only animals do that, as I've said, and I want to go on the record as saying that. Hello, and welcome to this episode of the Restors Entertainment, Questions and Answers Edition. I'm Marina Hyde.

And I am Richard Osman. Lots of lovely questions. Thank you, listeners, as always, for sending them in. Should we get straight into it? Well, we're not going to because we have some any other business. Whoa. Are you kidding me? Courtesy of Russell T. Davis.

The Russell T. Davis. Yes. What does Russell got to say? Russell says, Dear Richard Marina, I love you. I literally love you more, Russell. But I have to insist, the greatest Chekhov's gun we were talking about this last week, is surely the claw. First scene in Toy Story in 1995.

We then had to wait 15 years for the payoff in Toy Story 3 when the claw descends, and there's a spoiler coming here, and saves everyone from the fiery furnace. The height of cinema. I actually said, the claw out loud. Bliss. Okay. Yeah, he's right. Right. To be fair. I'll hand it to you.

Yeah, a 15 year Chekhov's gun. 15 years is amazing. That is a long range rifle. Yes. Yeah. Okay, very good. We stand corrected. I have some more any other business from a Russell P. Davis. I don't.

No. Do you have a question for me? I have a question from Jamie Miller. Absolutely no indication of a middle name, Jamie W. Miller. I'm going to say. You can't just fit him with a W. You can't. What's he going to do, Sue? Okay. That would be a court case. like to see. Jamie says June part three and Avengers Dooms Day are both releasing on the 18th

December. One, bold attempt at getting young people into the cinemas or hubristic. Two, who will come out tops at the box office. Three, is there a better portmanteau than June's Day? Portmanteaus didn't even exist. Like all of the great traditions, this has been going for about three years because of Barb and Heimer. You'll remember the story of how those two films started, was going to release on the first, on the same day. Summer is always very busy. But, you you'll be thrilled to know that there was also pettiness behind this. Oh, great. Which is that Christopher Nolan, the Oppenheimer director, famously left Warner Brothers during the pandemic

in a dispute about theatrical release because he wants his films to be in cinema. He always, by the way, prefers a July release. He's got a superstition. He likes them to be as close as possible to the 21st of July, his releases. Any reason? It's a superstition. It's not clear why. Killion Murphy left its live.

So Universal announced first that Oppenheimer would be. going in cinema's not the date, and then Warner's moved in, and rivalry in a little bit of of bitterness was part of it. So again, yes, you're right. There are two films, the two of the biggest films of the year releasing on that date at the moment. So June the third part, it's Denny Villeneuve, it's Chalameh. It's not called June the third. June the third, no, it's not. June 3. That'd be a terrible name for June the third. And the Avengers have got the Russo Brothers back, who did all the sort of most successful Avengers

movies, and Robert Downey Jr. is back. but as Dr. Doom, again, it is a big log jam at that time of year. And as we said, there's lots of big movies coming out this year, and you kind of want that holidays period. I am hearing from various people. I've talked to people about this. It might move. Some people are thinking it will move and that Avengers will move first.

Marvel are often really slow or they're unclear about when exactly they're going to release. And lots of the other studios, they've always been a little bit chaotic and things haven't been ready in time, and that's a big part of the story of Marvel. But June had everything locked down, and crucially they have the IMAX screens locked down, most of them for that weekend. IMAX is a huge part now. So June is definitely coming out that weekend, we think. June will be coming out that weekend because they've – and Avengers, I think, have got very few IMAX screens they could go on to. IMAX is such a big part of the box office because apart from it, sort of making it seem like an event movie, the tickets are so much more expensive and you earn a lot more from it.

So in answer to your questions very quickly, is it a bold attempt to get young people? people in. I think it's probably unwise in this case because the good thing about Barbie and Oppenheimer, it wasn't like, or which of these two movies quite like each other will I see. They were so different. They're so different. That it's funny. It's fun to do the double bill. It's an interesting story to write about. You can do everything from a tweet to an op-ed about Barbenheimer. Yes. Whereas this is like, it's not like they're, you know, one superhero's a sort of sci-fi thing, but it's much more likely that one audience will cannibalize the other if you put them on the same weekend. Who will come out tops at the box office? Like, oh my God.

Oh boy, if it's not The Avengers, that people will write the death knell of Marvel. The last Avengers, I think, took 2.7 billion endgame, and the last June, I think, took about a 700, which was brilliant, by the way. Denny Villeneuve can make, it was such a smaller budget. He can make a somewhat smaller budget look enormous, but it has to be Avengers because there's so much riding on it.

The whole sort of studio, really, in genre. I don't think there is a better portmanteau than June's day because it's got that sense of day and date and in it. Terrible. You're not going to say like three Avengers or something. No, I have one. But June's Day sounds like it's the day that June comes out. If I was the Avengers and it was called June's Day, I've been moving to a different portmante.

You know, like, yeah, June Vengeers or something where I've got a bit, it's like that old joke on spitting image where David Steele and David Owen, I knew I'd mention them at some point talking about what's called their new party. And David Owen goes, from the Social Democratic Party will take a Social Democratic and from the Liberal Party will take party. and we'd be called the Social Democratic Party. It feels to me like June's day just tells you that that's the day June is coming out. It's terrible. Absolutely, I would be fuming. Fuming. But June's day is the day that June comes out. And I think it will be the day that just June comes out.

Oh, well, there you go. Well, then we can call it June's day. Done. We'll see. Okay, this is a very good question from a very good name. Tony Swindlehurst says, how do musicals get translated into another language? Who translates them? and how do they make the translated words fit the rhythm and rhyme of the songs,

especially for languages where the word structure is so different from English? Yes, one of those questions where you think, oh, I bet there's a simple answer and there isn't. And the truth is, Tony, is incredibly difficult. This is the biggest head scramble. This is like one of the jobs I would least like to do. Do you know what I would like to do because it feels like a jigsaw puzzle? All of the things that would seem difficult are difficult. So, you know, you're fitting something to a pre-existing melody.

So if you're translating a book, you have an awful lot of freedom as to the, you know, the order of things in a sentence, to the amount of syllables in a particular word. You don't have any of that freedom if you're translating a musical. You know, if you've got a three-note structure, you need a three-syllable word. You can't suddenly have a five-syllable word just because the German word has five syllables. So you're immediately starting in a very, very difficult place. And then things that you wouldn't even particularly think of. So if the song has a long-sawing note at the end of a phrase, which is, you know, often the case in musicals, that has to be an note a vowel that lets the throat stay open. Any single will tell you there's certain sounds you can make for a long time, certain sounds you can't. Whereas if the word that you're translating has a very close down at the end of it, then literally the singer will die because they're not going to be able to hold that note long enough. You're not that on your conscience. No, exactly. So, you know, that's tough if you're a translator. You know, on top of that, like a really obvious thing, in most musicals, in most songs, words have to rhyme. And, you know, it's, this is like, if this is news to people, sometimes the things that rhyme in English do, you know,

not rhyme in German and you're not rhyme in French. Again, that, I think, as a translator, is quite a fun thing to work your way around because that's language and that's having fun with language. The thing about the syllables and the thing about sentences having very different structures and different languages and things about, you know, the ends of sentences ending on a certain note, those are the things that I think are harder. This is why I would like to do it. So they always said that Hamilton was untranslatable. Yeah. And you can really see why, because it's so fast and it's so involved. It has so many little internal rhymes and the rhythm of the thing.

But two Germans decided to have a go at it. There's a playwright and lyricist, Kevin Schroeder, and a rapper, Sarah Finale. So they're coming at it from different angles with different skills, but, you know, the sort of skills actually Lim Manuel Miranda combines himself. And they said, you know, German words tend to be a lot longer than English words. And Linwell, Manuel Miranda is packing an awful lot of dynamite into every single sentence he's got there. So they had to, Schroeder and a finale, had to invent new compound German words

or use some, you know, Anglicisms where they had to just to keep the rhythm of the music. They took on this challenge. Every three months, they sent Lim Well, Miranda, a three-column list of the latest songs they translated with the original lyrics, then the German translation, and then a literal translation of what the German translation meant. So Lim Well, Miranda could see that they got the

rhythm of the thing, he could hear the sound of what it was going to sound like, and then he could see what they were actually saying in case it was kind of completely different to, you know, his meaning. So they would do that every three months, it took them two and a half years to translate Hamilton into German. They did it, by God, they did it and it's done very well over there, but it took them two and a half years. It's really, really, really one of the toughest translation. That three column thing is the standard for doing this. Our friends at the Lion King also told us That's now been translated into 40 languages and you've always got these things and it has to be approved at every different level. Are you following this absolutely nuts lion?

Do you know what? I really, as I was halfway through this, I was thinking, oh my God, but what about the Lion King lawsuit? If you haven't heard about the Lion King lawsuit, I'm going to fill you in. There's that bit at the start of the circle of life, which is a kind of incantation is one of the, or mixture of two of the 12 different African languages. It also sounds like he's singing Arson Vinger. Yeah. It sounds like, you know, there's a certain Rorschach element to it. Anyway, you hear what you want to hear.

The Lebo M, who is the South African composer who wrote and performed that opening chant in Circle of Life, there's this Zimbabwean comedian called Learn More Janasi. I love those names. Learn Mojernasi, who often takes the Mick out of Lebo M. There is a sort of serious underpinning to it all saying that, you know, actually this is kind of like about the appropriation of Africa. African staff and, you know, he's made a running joke of it in his set. He's on podcasts. He's sung loads of gibberish versions of it.

The thing that has actually broken Leboem and caused him to file the lawsuit is that on one podcast recently, which went crazily viral. Which went incredibly viable. Lamorgenasi said that, oh no, it just means, look, there's a line. Oh, my God. As I say, he is actually making a wider point about African identity and the Americanization, etc, et cetera, et cetera. Lebo members now suing in America for tens of millions of dollars saying that it's damaging his business relationship with Disney and his royalties income.

It's a big thing. And Lemmo Janassi has actually sort of tried to sort of post through it. And it keeps saying, listen, I'm just, you know, I'm just raising points. Well, it sounds like from the things I've seen that it is possible to translate to that first bit of, oh, look at a lion. Wow, it's a lion. But like with all languages, they're complex and certain things can be certain other things. So the original writer is saying, no, it's more powerful than that. But so they're sort of both right.

But the fact it went so crazily viral. And everyone loved the idea that that bit that they've sung, everyone sung it every single time they watch this. That literally they're just going, look, it's a lion. The official translation, Disney translation, Disney have an official translation of it, of course. They control it all. And say that it is, all hail the king. we all bow in the presence of the king through you, we will emerge victoriously. Or, look, there's a line. Oh, my God.

But again, that's the point of translation and why it's quite, just to go back to the original question, quite, it's so difficult. It's actually both those things can sort of be true at the same time. And that's the joy of translation. And that's for a circuit judge in Los Angeles to decide. We'll wait to hear how that one pans out. That has got settled out of court written all over it. It really has. Although I don't think he's going to

I get the vibe that he's not going to back down I'm saying. Look, there's a judge. Oh my God. And also, I don't believe that it's remotely harming his business relationship. Oh, no, he's loving it. Yeah.

If you go on Learn Moore's website, he is sending a t-shirt that says, look, it's a lawsuit. Oh, my God. Proceed to the Superior Court of Los Angeles. Right. Shall we go to a break? I'd love that.

This episode is brought to you by Tesco, mobile. Now, we're no strangers to the magic of mobile phones. They've now become these sort of omni tools for entertainment, photography, abstract computation, and everything in between. But they are actually really good at their base function, communication. I still, I mean, I personally still like to talk on the phone, which is an act of lunacy. It really is. And not to send a text message first, saying, would it be possible for me to call you now? I like to just ring. I love it when my phone rooms. That's the thing. If you like talking to people, a phone is perfect. If you don't like talking

to people. A phone is weirdly even more perfect. But the common denominator, really, in all of those examples, me liking to text, you liking to speak to people is people. It's all about your network of family and friends that matter most. Which is why Tesco Mobile is happy to be your second most important network. Tesco Mobile, it pays to be connected. Search why Tesco Mobile to find out more. Welcome back, everybody. A question for you here, Marina. This touches on a big story which you can't massively talk about. You might work out which story I'm talking about as I read this question.

It's from Susie. Thank you, Susie. Doesn't have a surname or a middle initial. This week I tuned into Radio 2. Gary Davis was on air as a seemingly last minute replacement for Scott Mills. In this situation, or a more common example, where a live presenter is suddenly off sick, how does stations find presenters at short notice,

and particularly for the breakfast show when they'd have to be awake at 4 a.m.? Is there a list of emergency presenters? What if they don't answer their phone? Is there an understudy for the understudy? Oh, thank you for that, Susie. But what a lovely, tangential way of talking about something we can't really talk about. We're not talking about that story. Funn enough, we're recording slightly early this week, and it's just one of those stories where it's just so not clear what might emerge, what could come out.

And it's not that I don't particularly want to be a hostage to fortune. It's just, I think the picture is quite unclear at the moment. But as it resolves, we will be discussing it further, I am sure. Yes, the answer to that from radio professionals is there is the equivalent of a sort of rotor plan. It's called Depping. Depping is a phrase that they use in the music business as well. Musicians often need cover. It's a real skill in itself, by the way, Depping.

It's like people who can do that, who can go into a sort of machine that is working all the time and just pick something up and make it look so they do it every day. It's quite lucrative. I'm not talking about the radio version of it. Some people make it. You can have a whole career from that. With radio, it starts with the managers who are on call, receiving news that a presenter is unavailable.

And then you have to, you've got a first choice step for the slot. Usually Gary Davis. Well, I was about to say, if you want to be, if you want a professional, you go for Gary Davis. Sometimes there's no notice at all, you know, say someone just like gets the norovirus or whatever it is. Then you've got to, or there's some travel emergency or whatever it is. Then everyone has to decide how do we best keep the lights on. Somebody who's already in the building, ideally literally they would look around the building or who lives really near. They can get in very quickly.

maybe you get the person who's doing the show before to go on a bit longer so that that person can get in. And very occasionally, they would, but it's quite rare, they would actually get the person who's already on air to do the whole next two or three hours. In terms of like what if they don't answer their phone? By the way, people like this always aren't their phone because they're so professional. They work in, like, can I just say something though? If Gary Davis is out of office, then it would say, ooh, Gary Davis. That's all I have to say about that. Yes.

Sorry. With Gary Davis, I would have. thought, it's not like, even though it is a breakfast show, this is pure speculation, but I would have thought what would happen because it was quite clear that Scott Mills didn't think anything was going to happen. He finishes the show. And then again, I'm purely speculating, but it would have been when he came off air that they would have said, you need to talk to you. Or even if it was that afternoon or whatever, you got a bit more warning. I think most likely it would be then. And then you've got the whole day to say, come on Gary Davis, you are one of the BBC's

most high profile primary choices for standards. But also in that particular, Kay, again, I'm speculating, you're thinking he can be a long-term-ish choice because he's going to want to do it. Yeah, he's working for you anyway. He's under contract anyway. He does shows on that channel anyway. He stands in for lots and lots of people. So he's, I mean, he might as well be a full-time kind of host on that show because he's, you know, incredibly familiar to that entire audience. And he's a safe pair of hands and you might need him to be a safe pair of hands. great, by the way. Yeah. Yeah. I mean, what's a pro and you're going to need him to take charge for a while. So I think that's probably what would have happened. But they did, yes, the idea that people in radio like that don't answer their phones, like they're so on it. They're just so on it that it doesn't fortunately come up. They're like first responders. Yeah. Essentially, they are not putting their phone on

silent when they go to sleep. You have it on game shows all the time as well, of course. You know, if you're doing pointless or something like that and you've got couples who are coming in and someone, you know, a train gets missing. And that's it, you just, you know, people from the next, you know, day show and stuff like that. If you're doing panel shows, stuff like that, a lot of careers started, fun enough, from warm up people being called onto panel shows at the very, very last minute. And, you know, they, because, as you say, they're in the building.

Someone is sick just before a show starts and they'll go on. People will do everything to go on. You know, if you're a captain on a panel show or something like that, you would have to be really, really sick for you not to go on. What happened when that person was sick when you were on the wheel? I was sick from the wheel. Are you allowed to say who it was? I can't remember.

No, I won't say who it was. But, yes, so they were being spun around in the wheel. It made them nauseous. They had to go home. But because they were filming another show later that day, Tony Bellew had turned up early for his show. And they said, Tony, would you like to do two shows? And he went, yeah, sure, I'll do that. So they were able to substitute someone in.

If you've got a show like House of Games, where it's, you've got five people, we have always, when we recorded up in Scotland, we would always have a Scottish comic, you know, nearby, a female one and a male one, because if a woman drops up or a male drops out, the same in Manchester. And as you say, it's actually quite... Are you on a retainer for it then? Yeah, it's a really lucrative gig. I think Ashley, actually, story, the actor and comic wrote a piece about it recently where she said, like, I've been paid for like two years to do this thing. And it's, for us, it's like, it's so incredibly useful because it just, it means you don't have to panic. And there are times where people will wake up in the morning and can't go on.

And then you think, great, we, we've absolutely got someone. And the amount of times where someone said, I'm not sure I can go on, I'm really, I've got a migraine. And I can't do this out of the other. And you see the substitute who's been there. He's been on the bench for like a year and a half going, is it me? Can I, can I go on? And a bit of them is thinking, oh, I really don't want to go on because this is a really nice gig. for me.

Yeah. I just get, all I've got to do is make sure I'm, I'm at home on the morning when, when, when this is being recorded. When you start, do you have to find a new one? Yeah. So someone like Ashley, we'd always say, you know, you, you really want a streak. They will come to a point where we want you to be on the show. So, you know, we have to then go, okay, we need to find someone different. So actually came on the show. Did very well. But yeah, it's a, it's a nice gig being the, being the, being the debt, because, you know, you'll get a call at 8.30 in the morning, just saying you can stand down

for the rest of the day and you can go about your business. My whole life was like that. Here's your money. About everything. You can stand down for the rest of the day now at 8.30. Oh my God. I do get things done early in the morning.

But I don't just be like someone just say, right, that's it. Come on, you're done you a bit. Now you stand down. But they have that on, you know, on all shows you just made. So I've had a call a couple of times on shows. And it's always that there is a slight issue. You know, this person might not be able to make it into studio with, you know,

are you available? Are you around? because, you know, I live, you know, not a million miles from TV centre and this, or the other, and almost always in those... You placed yourself within call radius. I mean, yeah. But, you know, then they go like half an hour later, it's always, look, it's going to be okay.

But, you know, there are absolutely things in place on every single TV show, just to make sure that you're not left without a show that day. I'm interested in the answer to this one. Ben asks about brands in songs. When songs name drop a brand or use a brand in their title like Prada by Ray, do the brands themselves have any power against them? Can they send a cease and desist? Do they earn any form of royalties?

And do the musicians pay a fee to use the brand name? Sort of the answer to every single one of those bits is no. You can absolutely use brand names if you wish to. Same in books. I always use as many brands as I possibly can. I just think it's more fun if someone goes to Oliver bonus than goes to a shop. Completely. And so, you know, you have what's called nominative fair use, which is a legal concept that allows you to use a brand name so long as you are not either a libeling that brand or be passing off as in, oh, Prada response of me to do this song.

This is Prada are behind this. So as you don't do either of those things. And, you know, why would you do either of those things? You absolutely can get away with it. Mattel, for example, Mattel tried to sue Aqua on Barbie Girl because that you can. you know, with a video and stuff like that. And it was very front and center, the Barbie thing. So Mattel said, I feel like there's an element of passing off in.

I feel like there's an element that they're trying to suggest this is an official Barbie thing. MCA records then counter sued Mattel because Mattel had called MCA thieves and, you know, gangsters and bank robbers and, you know, all this sort of thing. So the judge heard the case with both of them. He absolutely threw out Mattel's case, throughout MCA's case as well, explained that neither side had a legal claim and the judge ended by saying the parties are advised to chill. That's quite good, isn't it? But I tell you what... Is it Judge Judy? Hmm?

Judge Judy? Might as well have been. I'll tell you what we've done. The rest of the entertainment gang, we've done a deep dive into brands, if that is interest, the most mentioned brand ever in music history. We've taken every single Billboard 100 song all the way from 1959 to 23 was our data. set and we've seen how often brands are met. Now, the first time we did it, we had this answer, which was the brand that is most often mentioned in songs is Gucci with 122 mentions. So that was number one. So we thought, okay, but then we realized, of course, that what our, you know, database was doing was every single time a brand was mentioned, even in the same song, we were

counting it. And for, and there is a song, Little Pump, you remember Little Pump in 2017 released Gucci Gang. And And in the Gucci gang, he mentions Gucci 52 times. So that was slightly swaying. Yeah, I see. What we did instead is just any time it is mentioned a song, we count that as once. Good. And to see which brands have been mentioned the most often in songs.

Exactly that. Correct. That's gathering. But it was fun. It was fun to do that because, you know, we got to spend an afternoon listening to Lil Pump, which is never an afternoon that is wasted. I've got a top 10. I'm going to go through them, but I'll go through them very, very quickly. These are the most mentioned brands ever in songs.

rap songs doing an awful lot of the heavy lifting, by the way. A little bit of country, quite a lot of rap. Number 10, Chanel. Number nine, Cartier. Number eight, Nike. Number seven, Bentley. Number six, Hennessy. Number five, Coca-Cola.

Number four, Mercedes-Benz. Number three, Gucci. So it still does well, but it's not number one. Number two, Chevrolet. Just a reliable vehicle. Reliable vehicle. Reliable vehicle by Billy Joel. And number one, the brand most mentioned in hit songs.

51 songs referencing this brand Cadillac, and number one. We might try and do that for the UK as well. Yes, we should do. Because I don't think it'd be Cadillac, but we tend to use brand names far less often. And when we do, they do tend to be Prada and Gucci and Cartier and Nike.

Cadillac and Chevrolet and Chevrolet would not be number one in the UK, I don't think. Again, also, Oliver Bonas probably wouldn't. Yeah. And it's unbelievable. It's TG Jones. That's last nearly done, but we forgot to,

We'd said that we were going to mention, we did a long talk about Matt Goodwin and his sales figures. And we said we were going to mention what they were and we didn't on Tuesday. So would you like to fill us in? Yeah, he was saying it was the biggest book of the UK. I think it was the 20th biggest after a lot of books about like chicks and Easter and Paddington and Easter. A lot of Easter books. Yeah, a lot of Easter books. I think 11 of the top 20 were Easter themed.

Well, it was Easter. Yeah. I mean, to be fair. Anyway, Matt Goodwin's book sales were, were they 5,526, 5,526 copies in the first week? That was the first week plus another couple of days as well as. 5,336, I think it was. Which, by the way, is absolutely not bad at all. But if you just said you've sold 10,000, it sounds less good.

And if you just say you're the biggest book in Britain, there's a number of dinosaurs that pooped Easter that want to hear from you. Yeah, and Rebecca Yaros would like a word as well. Right. We will be back for our members tomorrow with part two of our Spice Girls Odyssey, which is great fun. If you want to join for ad-free listening and bonus episodes, it's the rest is entertainment.com. Otherwise, we'll see you next Tuesday. See you next Tuesday.